Tech N9ne - Everready [The Religion]

In early 2005, Kansas City rapper Tech N9ne was touring, trying to maintain the hype for his upcoming album, which was by this point three years in the making, and well overdue for release. While Vintage Tech (a compilation of old music he put out) had managed to feed the fans somewhat, the man needed to cook up something fast to release as all new music, before his followers started to become agitated at the lack of new shit (if only some of today's artists had this much care for their supporters, *cough, cough* A$AP Rocky, *cough*). 

Picture the scene. Tech and his four buddies are alone in the tour bus, drinkin' and smokin' and... well, maybe not humpin' (that would be weird), when suddenly it hits a patch of ice, flies off the road, and begins to roll. After what feels like hours of tossing and turning, the vehicle finally comes to a rest far off to the side of the highway - with what should have been five severely injured or even dead men inside. But miraculously, they all survived without so much as a scratch. And beyond a near death experience, Tech became inspired to devote himself even further to the party life and having a good time - his ambitions were now to live life to the fullest, and his new music needed to reflect this. 

He began to retool parts of the new album, and it took a while - possibly delayed even further by Strange Music splitting with MSC, distributor of all their albums between 2002 and 2005, meaning they had to seek refuge in different companies (RBC and Fontana Distribution to be exact). It wasn't until late 2006 that it all came together, but when it did, and Tech was finally able to gift his fans the project they'd so long been waiting for, he didn't miss a beat. The album, named, oddly, after a battery company, was praised like a God on release, with all of his fans claiming it his best work yet. It had party music, sure, but it also had some of his more personal tracks yet, and the new direction in production also had the fans loving what Tech was up to.

But does it hold up 20 years later? And coming from a fan who adores to death Anghellic and Absolute Power, is it that good? Let me take a look. 

God it feels like a while since I did one of these. 

1. Enter Everready

Aaron sets things off with a dramatic but generally very entertaining skit detailing the car crash that him and his homies had that I considerately detailed earlier. Yes, it's a rap album intro, but at least it isn't a fucking boring one.

B.L.E.S.T.

2. Riot Maker (feat. Skatterman & Snug Brim) (prod. Robert Rebeck, Tech N9ne & Tyler Lyon)

While nu-metal is a genre usually dismissed by musical elitists (not that I claim to be one at all, lest I appear like a total bellend), there's no denying that this opening song fucking rocks. Tech N9ne and his housekeepers Skatterman and Snug Brim (who would later fall out with Tech over issues with their promotion, or rather lack of it, in a story for another day) spit dope shit over a heavy metal inspired instrumental, preceded by a creepy and tense build up that's bookended by one of the catchiest bridges of Tech's entire career - "we gon' start this shit off right / we got KCMO in the house tonight" he chants as the guitars plunge in. That part is so good it makes the actual chorus seem fairly anticlimactic in comparison. Tech's verses on here are wonderful, especially the one about getting sued after some "bitch" cracked her head open in a mosh pit at one of his shows - and it's in this verse where Tech exhibits an ability to show no remorse about this incident, which further emphasises his image as a no-fucks-given independent rapper. By the time Skatterman pops up, you're already sold on this anthem. Incredible way to start the album. 

Enjoy

3. No Can Do (feat. Big Krizz Kaliko) (prod. Rick Rock)

Just in case the odd listener was thrown off by the previous track as the opener, "No Can Do" is a more easily digestible affair for your average hip-hop head - not that your average hip-hop head is necessarily a Tech N9ne fan (didn't I write that before in a previous review?). Tech's first verse is your standard shit talking, but he does raise an interesting diss towards Patrick Grant, who tried to sue Tech for using the name "Strange Music" - an interesting little Tech fact that I'm sure many haven't heard about (Tech's issues with the industry were so many back then that a lot fly under the radar). Personally, I was more phased by the Busta Rhymes shout-out during Krizz's verse, one of the first the man actually performed on a Tech record. While I like this song, and it has a fun energy to it, I find that it's indicative of why I don't enjoy this record quite as much as some others by Tech - it's just too one-dimensional, and often lacks depth. The production here is good, but not what I'd characterise as "strange", and the lyrics consists of boasting and the occasional name-drop, which is fine - but when there are a few other tracks here that are similar to this but with better beats and hooks, this one gets swept under the rug. Seriously, I don't think this is making anyone's top 50 Tech songs list. Still, it's a fun one nonetheless. 

4. Welcome to the Midwest (feat. Big Krizz Kaliko) (prod. Michael "Seven" Summers)

Tech delivers another ode to his hometown on this one, depicting the Mid-West as some kind of apocalyptic wasteland where staying inside is your best option. I mean, is Kansas City really the place where "killers keep it cracking"? I mean, I've never been there, but I'm pretty sure it ain't no Compton. Still, I like how much more thematic this track is than the last two, and Tech and Krizz bounce off each other very well in the back-and-forth third verse - the latter really showcasing a talent that would make his later solo work pretty damn solid too. The Frank Sinatra sounding chorus (correction: it actually apes Dean Martin's "Sway") is pretty out of left field, but sounds good, and the flows displayed on this song are some of the most ferocious on the entire LP. This track is fucking sick. 

5. Bout Ta' Bubble (prod. Michael "Seven" Summers)

The only single released for this album (yes, the song later on that is far more well-known never got an official single release), and it's a total banger. Michael Summers provides Tech with one of the most old-school beats heard in the year 2006, and Tech rips it up with some more boastful verses, largely about touring the world and making friends with lots of other rappers, including E-40, who actually shows up to verify this later on in the album. The track is lyrically similar to most of Tech's lead singles (think "It's Alive" and "Here Comes Tecca Nina"), but this time it's that Beastie Boys esque instrumental, along with the bloody hilarious hook ("and drinking, and smoking, and humping, and likin' it"), that make it stand out. Not only that, but Tech's flows are only improving with time. This is some seriously good stuff. Who said Tech only makes music for metalheads?

6. It's What You Thinkin' (prod. Michael "Seven" Summers)

This is the sort of song that people who are already really into Tech's style will love, and those who are skeptically checking out his music for the first time will fucking hate. The track does feel like a mid-2000s Tech N9ne party song, with a pretty nice beat that is bass heavy and feels celebratory yet dark, some fucking awesome flows and delivery, and a catchy chorus that's unfortunately delivered in a really goofy fashion - but the subject matter here is so played out and uninteresting ("your wife comes to my shows to fuck me and you're gettin' none, HA! Cha!"), and the sound of the track so mid-2000s, that your average Tyler, the Creator fan will probably look at you in disgust, before throwing your boom box out of the window. Personally, I think it's okay - but it's no "Einstein Tech N9ne", that's for sure. 

7. Night and Day (prod. Michael "Seven" Summers)

Sounds pretty similar to the previous song, only this time there's less emphasis on bangin' your bitch, with the song focusing on all aspects of Tech's parties in equal measure instead. The song is occasionally derailed by the fucking weird hook, with its creepy operatic vocals and all, but thankfully the intense instrumental and Tech's flows keep the verses sounding pretty nice. There's also a reference in here to the style of "Funkra", a "genre" Tech N9ne claims Krizz Kaliko made up all on his own. Ironically, this shit sounds exactly like half of the Southern hip-hop on the radio in 2006. 

T.E.C.H. Radio

8. Jellysickle (feat. E-40) (prod. Rick Rock)

I'm sure many of the hip-hop heads who picked this album up in 2006, excited about this rising underground star (yes this album wasn't as successful as Tech hoped, but it still cracked the top 50 on Billboard, meaning it must have done some numbers), gravitated to this track first, as it features Bay Area legend E-40, easily the most famous guest star on this LP (although Rick Rock's production credit on this track and a few others would also have drawn attention I'm sure). What they would find is, however, one of the weirdest songs on the entire album. The instrumental on here feels like circus clown music crossed with a Jelly Roll beat (the West Coast producer, not that fat white rapper everyone seems to know these days), and the whole concept of the song surrounds a word that Tech completely made up - not that that's unusual in the man's discography. Still, I kind of like this despite it's often ridiculous sound - Tech sounds good, the chorus is catchy, the beat is fun, and goddamn does E-40 pop off during his verse. This track definitely isn't one to be missed. 

9. Caribou Lou (prod. Rune Rask & Troo.L.S.)

The album's biggest hit, and arguably Tech's signature song, is this club-ready affair that is home to one of the most bangin' beats on the entire album, as well as some pretty hilarious bars from Yates about partying, and attempting not to shit everywhere whilst doing so. In case someone new to Tech is reading this review, a "Caribou Lou" is the man's signature drink, something that would later result in him being sued by the makers of caribou coffee - that's a story for another day. And while this song is one that I might have overplayed a bit, I still find lots of enjoyment in it today. It's without doubt an absolute banger. 

10. Hood Connection, Strange Commercial (prod. RUBONYX, add-prod. Michael "Seven" Summers)

Jesus this man can be cringe sometimes. There have been funny skits on Tech albums before, but unfortunately this is not one of them. What a shame. 

11. My Wife, My Bitch, My Girl (prod. Rick Rock)

The first true misfire from the N9ne comes in the form of this monstrosity of a song, where the man tries his best to maintain the loyalty of his audience whilst rapping about his pride in serial infidelity. I'm almost glad that the instrumental here is so fucking godawful - imagine if he'd used a good beat to rap about this subject matter. This song is abrasive, messy, and misogynistic - and furthermore, it's truly awful. One of the worst songs from Tech's golden era run.

12. Flash (prod. Rune Rask & Troo.L.S.)

I mean, I guess this is definitely an improvement over the last song - but that doesn't mean I'm exactly in love with it. The same guys who cooked up the "Caribou Lou" beat try their hand at something a little more sensual here, and the groove of it is pretty nice - unfortunately Tech proves that he's incapable of subtlety here by devoting all of his verses to his pleasure in watching all the women at his concerts take their bras of - hence the title of the song. This song is definitely sonically better than the previous one, but lyrically it's no less ignorant - and while you could argue some of the stuff on Absolute Power was ignorant too, at least it was inventive and sounded unique. This song just sounds boring. What a shame. Again.

Your Descent 

13. Come Gangsta (prod. Michael "Seven" Summers)

I guess Tech finally remembered that he's supposed to be making "Strange Music", and so as the first song in "Your Descent", we get something far more experimental than what we've been hearing on the last few tracks. "Come Gangsta" is a song about how Tech feels like he isn't getting the props he should because his image doesn't fit that of a typical gangsta, and the song stands out in the man's storied catalogue for having a dramatic, almost operatic sound throughout, one that compliments Tech's aggressive demeanour on the track to no end - this is seriously one of the best cuts on the entire album. Tech N9ne's lyrics, flows, and even singing on this song are straight perfection, with the chorus being catchy as hell too, and the whole song carries this ominous feeling, until we hit the third verse, where Tech lets all of his rage at the industry out in a burst of energy. This entire track is a rollercoaster of emotions, but the incredible production and Tech's powerful performance make it an entertaining and objectively fucking great adventure. This is a truly phenomenal song. 

14. The Melancholy Maze & My World Intro

One of my favourite skits on any Tech album ever. It's a real shame the creativity of the interludes on this LP (okay, maybe not "Hood Connection") didn't carry into the monotonous ones littering his later LPs. This shit is entertaining as fuck, and even incorporates a little verse too. Nice stuff.

15. My World (feat. Brotha Lynch Hung & Dalima) (prod. The Legendary Traxter)

Where Tech's constant lyrics about sex, drugs, and haters meant the previous section of this album became kind of redundant, it seems that "Your Descent" has a far more interesting direction, lyrically and musically, which we can all be grateful for. And frankly, "My World" is one of the man's finest moments. Over a pulsating and intense instrumental from one of Twista's main producers, Tech and his guest stars spit hard bars and lightning flows, with dystopian and, perhaps inevitably, braggadocios content, that goes over incredibly well, although it's perhaps more the aforementioned flows that keep this track the incredible piece of music it is. Also, that chorus, one of the catchiest here. This is by no means Tech's most powerful or well-written song, but it sure is entertaining as hell, and sounds frankly fucking great. "Fight this phantom, your freakin' family will fall flat!" Brilliant stuff. 

16. Running Out Of Time "ROOT" (prod. Michael "Seven" Summers)

I remember finding this one of the more forgettable songs on the album, but you know what I actually enjoyed it quite a lot this time around. I think the hook is terrible, sure, with Krizz Kaliko's weird vocal quirks and the robotic female singing creating a miserable marriage of sounds - but Tech's verses? Really fucking good, especially in the second, when he really speeds his flows up in a way that almost reminded me of the first verse of "This Ring". The lyrics about needing that dough quickly are pretty interesting too, and Seven's beat is a nice mix of dark without being corny at all. This isn't the best track on the album, but it could be a lot worse. Also, that title is really funny for some reason. 

17. The Rain (feat. Alyia & Reign Yates) (prod. Robert "Polyhedron" Young)

The second true emotional high of the record, and while "Come Gangsta" was Tech's anger, this song is themed around his sadness and regrets, and even if it is a little cheesy, it still is a little tear jerking at times. The song, like "This Ring" from Anghellic, discusses Tech's issues with maintaining a fan base and touring all the time, whilst trying to maintain his family too, and how this is starting to fall apart. It's pretty said, especially when he gets his daughters to rap the second verse for him - and while Tech's style isn't really suited to this soppy stuff (his most heart-wrenching work is the far darker "Trapped In a Psycho's Body" for my money), I do think this track is pretty well done. Also, the vocal sample used here is absolutely beautiful. Who new something taken from an Anime called "Cowboy Bebop" could sound so good?

Welcome Back/Party Hard

18. Fuck 'em Girl (feat. Big Krizz Kaliko & Kutt Calhoun) (prod. Michael "Seven" Summers)

I don't think even Tech's biggest fans would be annoyed if I were to say this song sucks - this is widely regarded as the major dud on this album, and yeah... it's pretty weak. Tech and his employees of the month attempt to earn the forgiveness of the ladies after some of the incredibly misogynistic music we heard earlier on, by attempting a sort of feminist anthem, and my God does it ring hollow. Nothing about this track fits on the album, and while I do appreciate the sentiment, the credibility of these gentlemen is at an all time low, especially Tech, following stuff like "My Wife, My Bitch, My Girl" (which, by the way, is actually a worse song than this). Also, this beat just doesn't work, even if it does seem to have more effort put into it than the verses on here. A misstep - but without missteps, would we really be able to appreciate the good stuff? Yeah, probably. 

19. The Beast (prod. Da Riffs)

A minor hit for Tech, that has managed to ascend its way into his top ten songs on Spotify, alongside another Everready track, "Caribou Lou". It's no wonder, as this song is highly catchy and actually quite danceable - as well as being highly energetic, a trait completely missing from the very flat and uninteresting previous song, it manages to feel like something that might get played on the radio, which makes me wonder why Tech didn't choose this as the album's lead single over the skeletal "'Bout ta' Bubble". While this track isn't one of my favourites on this album, I do appreciate it's intent - and as vulgar and lyrically generic as this is at times, it is definitely fun. Overall, I like this track a lot. 

20. This Is Me (prod. Official Productions)

Looks like we have a new winner for the "most uninspired producer name of all time" award. Thankfully, the guy's actual production work is a little more well thought out, as the beat on here is actually dope as hell. The sound effects in this instrumental are weird but wonderful, and the way everything comes together makes for a sound that truly feels like we're ending the album. Meanwhile, Tech decides that he's done partying hard for now, and instead devotes the lyrics here to explaining why he is the way he is, while also comparing himself to other artists who were more popular at the time. Also, the chorus on here is actually pretty good, something I'd given up on by this point, so that was nice. Overall, a solid way to end the album. I like this one a lot. 

Goodbye 

I do hope I don't rile up any Tech fans here but... Everready [The Religion] is not only nowhere near a classic, but it also isn't close to Tech's best album. In my opinion at least. It's very good, and I do enjoy it... but seriously, this thing has multiple issues we can get into that prevent it from being the masterpiece it is sometimes hailed as. I mean, for starters, there's a serious issue with the hooks on this album. Why are they all so repetitive, overdramatic, and quite frankly, not catchy? I mean, sure, some of them are pretty fun, but while Krizz Kaliko has proven himself in many cases to be a good vocalist, he just keeps singing in these weird accents, and teaming up with these robotic sounding female vocalists, to make for incredibly off choruses, which sometimes feel like Tech has thrown them in so the track as a whole will feel a bit weirder - like the one on "Night and Day" for example, or even "Jellysickle". On the other hand, the one on "Fuck 'em Girl" feels like a placeholder that they forgot to change when mastering the album. And another thing - there are way more generally weak songs here than on his previous two major albums (not counting the compilations I reviewed). I mean, did Tech really think that mastering, mixing, and eventually releasing the terrible "My Wife, My Bitch, My Girl" was a good idea? Hell, how did Rick Rock let someone else hear that beat in the first place? Awful! And also, while I appreciate why Tech wanted to make party music, I do find some of the songs in the first half of this album, especially from "It's What You Thinkin'" up to "Flash", do start to blend together, and begin to sound very similar. Not bad necessarily - just similar. 

But enough with the bad - because as I said before, I still do think this album is good. Tech has a knack for making extremely good songs to get hype to, and on here it's no different. "Riot Maker", "'Bout ta Bubble" and "Come Gangsta" are some of his best loud, aggressive tracks ever - and "The Beast" takes that and spins it into one of the best party cuts here too. And when Tech isn't writing about the same ol' shit again and again, he can do really well, and this is especially true in the "Your Descent" portion of the album, which contains some of the most enjoyable and replayable music on this LP. Hell, "My World" might be one of his best songs ever. Oh, and while I did criticise some of the party songs, there's no denying that "Caribou Lou" is catchy as fuck, and a great, fun club banger, with a legitimately brilliant hook. If Tech had spent a little more time with working this album to perfection, or perhaps even just cut out a little bit of the fluff, this could have been an all time great record - it's just that for me, it is a little repetitive and in-your-face at times. The album is solid overall. But hey - who cares about my opinion. There's a million Tech fans that will probably tell you this is the best album of all time, and maybe they're right. Still, thanks for reading anyway. 

Best Tracks: Riot Maker, Welcome to the Midwest, Bout ta' Bubble, Caribou Lou, Come Gangsta, My World, This Is Me

Worst Tracks: My Wife My Bitch My Girl, Fuck 'em Girl

More Tech N9ne reviews!

Busta Rhymes - It Ain't Safe No More...

Busta Rhymes, while no longer my favourite rapper of all time, remains as a top tier MC in my book, one of the more underrated rappers who undeservedly gets thrown around far too often in "best rappers without a classic album" conversations - did these people even hear The Coming? His unique delivery and flows teamed with his rather diverse vocabulary (which perhaps does use the n-word a little too often) make him a rapper who I am always excited to see on a feature list - inevitably he'll bring a well-written and impeccably performed verse to the table, that will almost certainly have extremely positive effects on the song, aside from perhaps his outshining the host, which has happened on numerous occasions. 

Of course, this only applies to guest verses prior to 2021 - as these days the man has started to completely fucking suck. But oh well. Every dog has his day, and it seems Busta's is up. At least he gave us a solid 30 years of great music and brilliant verses. He really did deserve that Rock & Roll Hall Of Fame induction, plus every platinum plaque he has received over the years. The man is truly a legend.

That said, the album I'm covering today is certainly a weird one - while It Ain't Safe No More...'s main single, a collaboration with Mariah Carey titled "I Know What You Want", was one of the highest charting and most successful tracks of Busta's entire career, the album itself was a commercial flop, failing to breach Billboard's top 40, let alone top 10 like some of his previous records. Sure, the lead single "Make It Clap" wasn't very popular, but neither was "Get Out!!" and Anarchy still charted decently well. And since his other album with J Records, the very solid Genesis, had sold pretty damn well, it didn't seem to be the label that was to be blamed for the record's flop either (although Busta's departure from it the following year might seem to indicate that). So was it the music?

Well, that's what I'm here to find out. Well actually, I already know, since I've listened to this album many times and have owned it for years, but hopefully my dear readers will know too by the end of this review. 

1. Intro

Presumably a dare from one of the executives. There's no way Busta, or indeed anyone around him, thought that this utter bullshit would help people actually want to listen to the rest of the album. There's no way, right? Fucking hell.

2. It Ain't Safe No More... (feat. Meka) (prod. Dilla)

Those that made it past the worst introductory track in hip-hop history - no, I'm not exaggerating - would be presented here with a title track that is altogether pleasant, if nothing that stands out when it comes to any of the artists involved. While the chorus here is pretty terrible, I find Busta's flow and lyrics during the verses to be somewhat engaging, if perhaps nowhere near as quotable as some of the performances he layed down on previous records - he seems to be back in the apocalyptic bag that fuelled his first four albums here, and I'm all for it. Meanwhile, Dilla's production work is also pretty nice for an opening track, if not really matching the darker tone of the lyrics very well. This is a decent opening track, but I'd be lying if I said I'd ever revisit it. And that chorus really doesn't help matters. 

3. What Do You Do When You're Branded (prod. DJ Scratch)

Another celebratory sounding beat, this one with a slightly more Anglo-Saxon edge, is the backbone for this cut which is all flash and little substance - not that that's something it stands out for in the Busta catalogue. I kind of enjoy this, but once again I'm realising as I re listen that I don't really remember anything that Busta says on here, which wasn't even the case on the overly long and mostly drab Anarchy. Hell, the ridiculously stupid chorus and the equally inane song title are the only things that I remembered about this one at all. Busta does sound aggressive on here, and he maintains a dope flow, but there are no punchlines, no funny lyrics, not even a cohesive theme outside of the fact that Busta and his gang may and probably will fuck you up (as emphasised in the skit at the end). This one sounds nice, but when you read into it it becomes very apparent that there really wasn't much effort put in. It's decent.

4. Call the Ambulance (prod. The Neptunes)

Even though Busta's cousin Rampage does show up on here for almost as much screen time as our host, his name is nowhere to be found in the credits. I guess the label decided that no-one cared enough to bother advertising his name, although if that was the case why advertise Meka? This track is most famous for appearing at the end of the highly successful "I Know What You Want" video, but it works as its own thing as well, especially with regards to The Neptunes' hardcore production, as they provide a horn-filled beat that sounds just like Busta and his entourage are storming your studio and taking you all out. And while moments of Busta's first verse remind me quite significantly of "We Comin' Through" (a fucking terrible song from Anarchy), it's mostly okay, and Rampage does his thing too. Again, the chorus sucks, but unlike the last two tracks, this song has enough shame to advertise itself as a mere shit-talking cut, so the lack of true substance in the verses is more acceptable. Overall this is good, even if it certainly isn't perfect. 

5. We Goin' To Do It To Ya (prod. Megahertz)

Jeez, it's easy to forget how stacked the producer list on this LP is. On this track, with one of the most half-assed song titles I've ever seen, Busta rides Megahertz' "barefoot jungle shit", which actually amounts to a skeletal club-ready instrumental that is easily one of the most boring to appear on any Busta album ever. Not that Busta's verses are wasted with it, though, as he apparently decided the instrumental wasn't good enough to save, so spits two ad-lib filled verses with terribly formulaic flows, and lyrical content discussing a whole bunch of nothing. Album filler at its most obvious. 

6. What Up (prod. Dilla)

I'm only just realising now how much some of these verses remind me of the worst parts of Anarchy. It's quite uncanny. This track is also one of the weakest so far, as while Busta's performance is definitely better than it was on the last song (if still lyrically lacking and unmemorable), the chorus here is terrible, and J Dilla's instrumental is easily one of his most questionable, amounting to what sounds like a bunch of abrasive noises thrown on top of each other. There's experimental, and then there's messiness, and this falls into the latter category. 

7. Turn Me Up Some (prod. Dilla)

Wow. It's difficult to believe that the producer and rapper who concocted that terrible previous track also made this song - quite easily the best track on the entire album. Now, this certainly isn't your typical Busta Rhymes song, and it would therefore be difficult to call it a classic track from Trevor, but on its own this is a fantastic experimentation from him, as he glides absolutely beautifully over this Dilla beat, with it's meandering synths creating a wonderful atmosphere that is punctuated by the awesome Redman samples that show up during the hook. Busta sounds fantastic on here, killing it with the flow and delivery, and this is seriously one of the best beats J Dilla ever cooked up. This is a fucking awesome song - if you don't have time for the whole album then at least check this one. 

8. Make It Clap (feat. Spliff Star) (prod. Rick Rock)

The lead single for this album, a puzzling choice given how not like a Busta Rhymes song this sounds. The instrumental, the flows, the inane "aren't I cool I'm in a strip club and have to pay women thousands of pounds just to get a lap dance" lyrics that spill into the ridiculous hook. Everything just screams generic - even if Busta sounds okay on this beat and the beat itself is kind of fun, it's just so easy to see why this got literally no radio play or real push back in the day. Perhaps the album's poor sales can be blamed on this ridiculous song alone - it certainly doesn't inspire much hope in a listener wanting something on the level of The Coming. And you know what? Compared with the next few tracks, this sounds like an actually great club song. Jesus.

9. Take It Off Part 2 (feat. Meka) (prod. Mario "Yellow Man" Winans)

Fuck this shit, and especially fuck the skit that comes after it. Did anyone listening to that find it funny? Seriously, I want answers!

10. Taste It (prod. Tetamus)

I don't care what anyone says - including the sounds of slurping in the chorus of your song is never going to be a good idea. I refuse to even finish listening to this. Fucking hell. Who's idea was that??

11. Hey Ladies (prod. Wildstyle)

Hey look! An actually decent song! God I've missed them. While the instrumental track feels a bit too much like The Tango (I think that's the dance I'm thinking of) for me, Busta's performance on here, as well as the very strong chorus, make this one of the more entertaining tracks amongst a lot of the slop that we're being presented with around the middle of this album. The raunchy, sexual lyrics of the awful previous two songs are out of the window here, replaced with solid flows about his successful career in music, his abilities to get all the girls, and also how his entourage will behead you, and then balance your freshly severed cranium on the top of a tree branch for some unexplained reason. Also, Busta's delivery here manages to remain calm without sounding crudely sexual, which is a bonus. As I said, the beat here is kinda bad, but Busta's performance really makes up for it. This one is pretty good. 

12. I Know What You Want (feat. Mariah Carey & The Flipmode Squad) (prod. Rick Rock)

I think this is probably Busta's most recognisable single ever, which is kind of depressing when you realise just how much better most of his other singles are. I guess it just goes to show that creativity and chart performance are pretty much perpendicular. This track is catchy, smooth, and features none of the spark that made some of Busta's earlier projects so successful. Any early 2000s hip-hop artist could have made this, and would probably have done a better job of singing the chorus alongside Mariah too. And Busta has proved that he can sing pretty well, so don't ask me what the hell happened here. And don't get me wrong, this is a decent song - the instrumental is smooth and very memorable, the hook is catchy, and aside from Rampage (who exhibits why he always has to yell on songs - his attempt at a softer delivery is akin to a drunk 50 year old trying to freestyle) the Flipmode Squad fit in quite nicely here. I just wish that the song that is by far Busta's most streamed was a little more interesting.

13. Riot (prod. Denaun)

Denaun's production here is typical of his work, with a simplistic and eerie sounding instrumental lending itself well to the theme of an incoming riot that's just about to kick off - and I think it suits Busta hella well, as the man sounds excellent on his verses here, with a great flow and delivery making up for a general lack of lyrical substance. Unfortunately this song is deducted many points by being home to one of the worst choruses I have ever heard. Seriously, do some of these rappers realise that you don't need a terrible, corny, poorly sung hook to make a song? What happened to the one verse wonder? I'm sure that I'd play this a decent amount if it were just the verses and beat, but my God can you imagine the embarrassment of being on the aux when that fucking hook comes on? Get that shit out of my face.

14. Hop (prod. Mr. Fingaz)

And the award for "worst producer name of all time" goes to... 

Err, so, yeah. I just re-listened to this song and it really doesn't feel like there's much to say. On the one hand, the chorus doesn't completely suck ass like that on the previous track, but at the same time it's way too wordy to ever be one that might stick. And furthermore, this beat is mediocre, and Busta's verses just seem kind of gimmicky. Ehh. It's okay I guess. Easily one of the most forgettable Busta Rhymes songs in the catalogue. 

15. Together (feat. Rah Digga) (prod. Swizz Beatz)

This album is really starting to drag at this point. I used to really like this one I remember, even thinking it was one of the best tracks on the album. Don't ask me why, as while the sung chorus here is admittedly pretty good and the instrumental had potential, the repetitive flows teamed with the incredibly weird instrumentation and overall vibe on this song kind of leave it doomed to failure. But hey, at least it's a bit more interesting than most of the other songs here. I'm really losing patience with this album. 

16. Struttin' Like a G.O.D. (prod. Ricc Rude)

Another song on here that would be just about passable if it weren't for the fucking horrible chorus that completely throws everything off. Honestly, the horns at the beginning of this track do sound interesting, and Busta flows pretty well over this intense, stadium-ready beat. Unfortunately Spliff Star's squeaky and repetitive chorus is a complete buzzkill, and it isn't like the rest of the song is really worth sitting through it. What a shame. 

17. The Struggle Will Be Lost (feat. Carl Thomas) (prod. Rick Rock)

I'm not even really sure what's happening anymore. 

18. Till It's Gone (prod. Tru Master)

A truly good song that comes as a nice surprise after a frankly terrible run of tracks - this might be the only Busta Rhymes song that has had me shed a tear. Lyrically, this song focuses on the old adage "you don't know what you've got til it's gone", and for Busta Rhymes it's pretty deep, if kind of surface level in the grander scheme of things. The part of this song that had me tearing up was during the third verse where Busta imagines a world without hip-hop music, and for some reason this just really had me going. I guess I was in an emotional mood that day. Still, evoking actual feeling in the listener that isn't sheer boredom and/or embarrassment is something this LP has mostly failed at so far, so props for that. And the production on here is damn good too - True Master really came through. This is a very good way to end the album. 

The following is a hidden track.

19. Make It Clap (Remix) (feat. Sean Paul & Spliff Star) (prod. Rick Rock)

Because a Sean Paul feature was exactly what "Make It Clap" needed to really shine. Who's idea was this?

Much to my dismay given my fond memories of this album, It Ain't Safe No More... is a bit of a disaster. This album is lacking on so many levels that not even Anarchy could compete, and there's little factors to make up for the major issues present on this one. It's not even that a lot of this is boring - more often, it's legitimately terrible, especially with regards to the ill conceived hooks that litter this project, along with some of the instrumentals that sound like they were created for a terrible early 2000s sci-fi comedy flick. I mean, what the hell was Dilla doing with "What Up"? And don't get me started on "The Struggle Will Be Lost", one of the most weirdly terrible songs in the entire Busta catalogue. On relisten, I find that there's very little to redeem It Ain't Safe No More.... Busta's writing reaches an all time low here - he was never one to write intriguing tales, but at least he had an interesting vocabulary and some funny punchlines. Here, he sounds like he isn't even trying, like he's having an identity crisis as he becomes a little too old to maintain the animated persona portrayed on his earlier albums. This results in an incredibly notable lack of memorable verses, and when you're teaming weak writing with some of these awful beats and hooks, you have a recipe for disaster. There are some redeemable values though. "Turn Me Up Some" and "Till It's Gone" are legitimately great, and the first three tracks are okay too, along with "Hey Ladies" and "I Know What You Want". Outside of those, this album is fit for the goddamn dumpster. It's a true shame, because it seemed like Busta was hitting his stride again on Genesis, after the bloated and bleak Anarchy, which by the way sounds like hip-hop perfection compared to this. It Ain't Safe No More... truly is a bust (funny, right), and the worst album in Trevor's catalogue so far by some margin - no wonder he couldn't sell any copies of it. Thankfully, Bus-a-Bus took some actual time crafting his next album, and that along with a signing from master producer Dr. Dre would hopefully indicate a new beginning for the Dungeon Dragon. For now, it's best we leave this album in the past where it belongs - turns out Busta really didn't know what we want. Oh well. 

Best Tracks: "Turn Me Up Some", "Till It's Gone"

Worst Track: "The Struggle Will Be Lost"

Believe it or not, I am actually a big Busta Rhymes fan, even if I kind of hate this album. Read more of my write-ups on him here!

A Tribe Called Quest - The Low End Theory

Believe it or not, I wasn't always a big fan of A Tribe Called Quest. There was once a time when I (please don't shoot me) found Q-Tip's voice to be kind of annoying, and the general jazzy sound of the group to be kind of, well, dull. The main reason why I bought The Low End Theory in the first place was because it had a feature from my at-the-time favourite rapper Busta Rhymes, and given that I knew of his affiliations with the group I considered it only right I should hear the album that put him on in the first place. But after listening to it once, and concluding that The Low End Theory didn't really appeal much to my younger, angstier self, I left it to collect dust on the shelf for like a year, busy listening to the likes of Tech N9ne and The Game, and dreaming about the money and expensive cars. Probably. 

And these days, I tend to ask myself: what the fuck was wrong with me?

The Low End Theory, as any self respecting hip-hop head knows, was Tribe's second album, released in 1991, as the follow up to what in my opinion is a highly overlooked album, People's Instinctive Travels and the Paths of Rhythm, an incredibly nostalgic effort for me that I have already written about on this site. Yet despite that project being pretty successful at the time, with hits including "Can I Kick It?" and "Bonita Applebum", Tribe decided to go in quite a different direction with their sophomore LP - this was perhaps inevitable, considering not only the departure of Jarobi, but also the newfound passion for rapping that Phife Dawg had found, after seeing how successful Tribe's debut was. Phife has a hell of a lot more screen time here than he did on People's Instinctive Travels, that's for sure - and when he does rap it's a lot better too. But another difference with this album is the production and sequencing - while Tribe's debut was a bright, summery effort with simplistic flows, long track times and a million samples, The Low End Theory had a darker and more stripped back approach to the production, and more variation in track lengths to help the effort flow better. Yes, some songs could have easily appeared on the debut, but for the most part this album is a very different animal to their first effort (I really can't be bothered to type the title out anymore). 

I'm far too young to be able to tell you what the album's reception was at the time of its release, but I can comment that this is today often considered Tribe's magnum opus, with the music community frequently naming it one of the best hip-hop albums of all time. And I have to say, I can certainly see where they're coming from, because this album is brilliant. 

Shit I spoiled the ending

1. Excursions (prod. A Tribe Called Quest)

Starting off with an immediate classic, "Excursions" lets you know from the jump that The Low End Theory will sound completely different from Tribe's previous album, both lyrically and instrumentally. While Tip (who is the sole performer on here) does take some time within the verses to make sure you know that his crew is the best in the business ("if you got the money, Quest is for the booking"), there seems to be more of an attempt at what would later come to be known as conscious hip-hop, which was prevalent in the '80s, but was simply known as "hip-hop" at the time, before the genre started becoming less socially conscious and more flashy and violent. There are lyrics on here focussed on the rise of black culture in the media, and the state of today's society, and while for the most part the writing stays surface level, they do show some improvement in it since the previous album, not only lyrically, but also in Tip's more advanced flow. And remember in the intro where I said that I didn't really like The Low End Theory the first time I listened to it? Well even back then I remember digging the fuck out of this beat, which boasts one of the best basslines in all of hip-hop - that'll become a running theme by the way. "Push It Along" is tough competition (as is "Steve Biko (Stir It Up)"), but there is certainly an argument to be made that this is Tribe's best opener. It's incredible in general too. What a way to kick things off. 

2. Buggin' Out (prod. A Tribe Called Quest)

Remember when I said that dope basslines would become a running theme on this album? Yeah. That's exactly what we're dealing with here. In fact, I'd go as far as to say that this is an even better beat than that on "Excursions", and possibly the best in the Tribe catalogue. It's seriously that good. This song also features what is almost certainly the greatest Phife Dawg performance ever, as he flows so well over this beat with a more animated style than Q-Tip's, which makes for a fantastic contrast, and makes you wonder where the hell Phife was at for the majority of the previous album. "Yo, microphone check one two what is this / the five foot assassin with the rough-neck business / I float like gravity, never had a cavity / got more rhymes than the Winans got family" - I could go on typing that verse. It's easily one of my favourite verses ever, and dare I say it better than any Tip even delivered on this album. Still, that's not to knock the way Jonathan (sorry - Kamaal) introduces himself here, with those cymbal crashes moving into a more swing rhythm at the top of his verse being one of the most satisfying moments on the whole record. I also always remember the music video of this, where it's almost like a crazy fun dream they're having in the middle of the very somber and dim shots of the "Jazz (We've Got)" video that surrounds it. I love when Tip starts rapping his verse acapella in that too. One of the best videos, for some of the best hip-hop tracks ever. God I love this album. This song is so good. 

3. Rap Promoter (prod. A Tribe Called Quest)

One thing to notice about this album that separates it from the two surrounding it is the presence of more short, interlude-type tracks that help give it a more cohesive feel in my opinion - I'll say right now that this is the best sequenced album in Tribe's catalogue. This song is all about how Tip (once again without any help from Phife Dawg) hates how record labels are starting to run the hip-hop industry, and the artists are beginning to have less control, and also earn less money since it all goes to the execs. A full length track would probably have been a little too long for a subject like this, but this 2 and a half minute runtime is pretty much perfect, and while this song certainly doesn't match the quality of the first two, it's still full of plenty great quotables and a dope beat with some record scratching sound effects intermixed with it that sound absolutely brilliant - and it really helps the album to flow well. It's dope. 

4. Butter (prod. A Tribe Called Quest)

Phife Dawg's first song to himself on a Tribe album, that is if you ignore the refrain in the middle performed by Tip. This track is very easy to follow compared with some of the previous cuts, as Phife Dawg in general has a more simplistic take on lyricism - not that that's a bad thing, as it makes his storytelling all the more compelling, and also paints him as the more down to earth of the group, compared to "The Abstract" Q-Tip and his occasionally esoteric bars. This track starts off as a story about how he was gotten back for his being a player all those years by a girl called Flo, but quickly dives into a rant about how women should wear less makeup and be more like themselves, which is really kind of an unlikeable stance from Phife - let them do what they want and focus on your damn self. Still, flow-wise this song is pretty great all the way through, and I absolutely love those horns on the hook. Overall this is a fun song, if lyrically a little odd at times. 

5. Verses From the Abstract (feat. Ron Carter & Ms. Vinia) (prod. A Tribe Called Quest)

Absolutely beautiful song, and definitely one of my favourites on this entire album. Q-Tip takes full control of the vessel once again to rap about a bunch of shit, including his ways with the ladies, his love for the hip-hop genre, and the negative states that some Black neighbourhoods in the US have fallen into - and I think it's this song's lack of lyrical direction that is one of the main things that makes it work so well. Q-Tip is unapologetically just laying his thoughts out on a platter, and we can take from it what we will, but he isn't leaving anything out, as he's too real for that. Also, the classic line "once had a fetish; fetish for some booty" shows up on this track, which automatically gives it some extra points. Musically this is also one of the strongest songs yet in my opinion. The groovy instrumental with Ron Carter's bass guitar makes for a unique rhythm that Q-Tip's flow syncs perfectly with, and Vinia Mojica's chorus vocals (teamed with Tip's shout-outs in the background) make this one of the catchiest tracks on the entire album too. This is easily one of my favourite songs here, and one of the most "A Tribe Called Quest" songs that Tribe have ever made. If that makes any sense.

6. Show Business (feat. Diamond D, Lord Jammar & Sadat X) (prod. Skeff Anselm, co-prod. A Tribe Called Quest)

Originally a homophobic anthem titled "Georgie Porgie" that the record execs decided was a good idea to be left off the album, this song was then re-written into a diss against those very execs, carefully excluding the fact that what the companies did in this instance was actually very smart and morally the right thing to do. Ever since "Georgie Porgie"'s leak Tribe have gotten flack for it, along with the guest stars on here of Brand Nubian, and yet I feel people miss that not only did they write such a despicable song, but they then had the nerve to write a diss track to the labels that made them take the song off this tracklist. I wonder how this album would be remembered had the labels not stepped in - probably not as well as it is now. Oh, you want me to talk about the actual song? Well I hate to say that it's pretty fucking dope. The instrumental on here (one of two on the album from Tribe affiliate Skeff Anselm) is aggressive yet keeps up the dope instrumentation from previous tracks, only with a more hardcore hip-hop edge, and the rapping is excellent too, with Diamond D and Sadat X having two of my favourite verses on the track to finish things up, and Phife and Tip doing their things well too (Lord Jamar is okay, but has easily the least memorable verse here in my opinion). It's a shame this song has such a deplorable origin story - on its own it's really fucking awesome. I also find it funny that words as tame as "ass" are censored throughout this album, yet here "motherfucker" is let slide. I guess Tribe felt the need to look cooler when working with the more streetwise Brand Nubian. 

7. Vibes and Stuff (prod. A Tribe Called Quest)

The best song title on the record unfortunately lends itself to the weakest overall song, which is a bit of a shame, but oh well. I just find this instrumental to get kind of dull after a while, and this song also has the least amount of notable lyrics out of all the tracks here. It's certainly not bad, and I can enjoy it as part of the album, but aside from the "I'm out like Buster Douglas" line there's really not much more to note. Don't get me wrong, I can dig this, but if it wasn't part of such a brilliant album experience I doubt anyone would really bump this track more than twice. It's merely okay. 

8. The Infamous Date Rape (prod. A Tribe Called Quest)

I'm always kind of confused as to the actual message of this song. Phife's verse seems to be about him being falsely accused of rape, which is strange since surely he should be denouncing rape itself, at least judging by the song title. It's not all about you, man! And Tip's last verse seems to simply be about how he will not touch this woman that he's with without consent, because he's "not the type that would go for that". I mean, what does he want, a medal? He then goes on to be patronising about the woman he's with being on her period, and also indicates that he'll be finding another woman to be with until his current girl is off her period ("I'll have to fetch a brand new cat"). If Tip is playing a character here, which he surely must be, he certainly does it very well, as the entire verse paints him as a complete asshole without an ounce of self awareness. And since Tip always seems like a decent guy, I'll assume he's speaking from the perspective of someone else. Let's hope. And hey, even if the lyrics here are a bit awkward (and nothing to do with date rape as far as I can tell), at least the music is fantastic - it carries a more eerie and tense vibe than most of this record, and it's definitely one of the best beats here. Also Q-Tip's delivery in the last verse is amazing. Overall I do like this one - I'm just not exactly sure what to take away from it. 

9. Check the Rhime (prod. A Tribe Called Quest)

The lead single from this album, and a Tribe classic. The relaxing instrumental on here teamed with the soft (even for Tip) deliveries throughout this track make for one of the most relaxing, Sunday evening vibes you're gonna get from a hip-hop song, which is made even better when contrasted with the louder, more intense horns that come in during the hook. The call and response within this track is absolutely beautiful, with lines like "It was I the Abstract / and me the Five Footer / I kicks the mad styles so step of the frankfurter" standing out especially - these lines aren't lyrically dense or particularly well rhymed, but that's the magic of Tribe. They don't need to be on the lyrical level of a Common or Mos Def - they just want to have fun on the mic, and that joy in the making of music shines through here. This also contains the classic "Industry rule number 4080 - record company people are shadyyyyyyy" line, which simply can't be overlooked. Definitely one of the best Tribe songs ever. This is so good. 

10. Everything Is Fair (prod. Skeff Anselm, co-prod. A Tribe Called Quest)

For sure the most underrated song on this entire album, "Everything Is Fair" is one of the darker cuts on this album, digging into lifestyles in New York in the early '90s and the consequences of actions in the city. My absolute favourite part of this one musically has to be the build up in the first chorus, where the hard-ass drum rhythm slowly comes in over the goofy hook lines, to make for one of the most energetic moments on the entire record. The instrumental during the verses does feel more like the rest of the album however, with a smoother sound and drums that aren't so emphasised in the mix - but that's fine as it leaves room to hear Q-Tip's verses, which are some of the most intriguing he's written yet. The first verse seems to deal with a woman who gets into a life of crime because she can't afford to feed her kids, and it ends darkly with her being killed for her work (I think), which is strange considering the generally up-tempo feel of this song. And while the second verse isn't quite as good, it still provides some further interesting commentary on the streets. Why this one is so overlooked, I'll never know - it's one of my favourite songs here. 

11. Jazz (We've Got) (prod. A Tribe Called Quest)

I remember there was a time when I thought this was the weakest track on the entire album, and while I can kind of see why, I also don't really know how there was ever a moment where I thought "Vibes and Stuff" was better than this. I still maintain that this isn't Tribe at their strongest though - at least not production wise, even if lyrically I do love this one. Q-Tip and Phife do come with lots of quotables throughout this track, for better or for worse (perhaps Tip's admission to being involved in an orgy could have been left out), and I especially love the opening to the latter's verse, as it exemplifies exactly how good Tribe are when it comes to repetition - with most hip-hop acts it falls flat, but Tribe could include the same line over and over and it would sound dope as fuck. Unfortunately, while the muffled horns on here are quite nice, the main drum and soft synth beat on here is one of the worst on the album, and one of only a couple that could potentially be labelled "dull" by the more cynical listener. Still, this certainly isn't the worst here, I'll admit that - and among a weaker set of songs it'd probably sound a lot better. It's just that this album is so good. 

12. Skypager (prod. A Tribe Called Quest)

At this point in the album it starts to feel like everything is building up to the monumentous closing track, but that's not to say that this joint is one you shouldn't pay attention to. As a fan of hardcore hip-hop this instrumental is actually one of the dopest on the album in my opinion, with that darker bass and the harder drums making it stand out on the record. Alternatively, however, the addition of horns into the instrumental really help set it in as a true part of the album - Tribe really just know how to create and maintain a vibe perfectly. Lyrically, this song is kind of weird though, as it seems to focus on the very dated concept of pagers, but since the music is so dope I'll let it slide. Big fan of this one. 

13. What? (prod. A Tribe Called Quest)

Another very short song that consists of one single, long verse where Q-Tip asks a bunch of questions, some of which are more important than others. The instrumental on this track actually feels very different to the rest on this album, with more of a funky, up-tempo feel with these bouncy synth sounds that feel weirdly futuristic somehow. It's actually a really cool beat though, and while the rapping and writing on here certainly isn't the most complex, it's still pretty unique lyrically. A good precursor to the final song. 

14. Scenario (feat. Charlie Brown, Dinco D & Busta Rhymes) (prod. A Tribe Called Quest)

Is this a top 10 hip-hop song of all time? Quite possibly. I mean, does it really get any better than this? Not only is it the introduction to the most charismatic and explosive MC the '90s had to offer, Busta Rhymes (what the fuck happened to him, man?), but it also exhibits a mesmerising contrast between lyrical potency, and delivery and flow perfection, as well as the unity that hip-hop exhibits in a way no other genre seems to. I mean, I'm no musical expert, but I've heard a lot of different music in my time, and never have I heard rock, pop, country, metal, or any genre for that matter, produce a song as hilariously brilliant as this, that actually works as a song and not some kind of parody. The constant echoes from both crews throughout the verses, the eccentric delivery of Busta and Charlie Brown, the verses from the Tribe members themselves... that goddamn music video! And somehow, despite how phenomenal the rapping is on here, the instrumental holds its own as one of the most iconic in history - as soon as this beat starts up any decent party would erupt with energy. "Scenario" is the perfect hip-hop posse cut, and one of the songs that truly represents why the genre is so fantastic. This is one of the greatest songs of all time. 

The Low End Theory isn't necessarily an album you can guarantee enjoyment of on first listen. Instead, it's an LP that burrows into your conscious and, whenever you're first listening to it, it will seem to define that period of your life, and at the same time will demand more and more re-listens, which will become more and more enjoyable every time, until you're convinced it's the best piece of music ever recorded. Shit, when I first listened to Tribe's catalogue I thought this was the weakest of their first three, and now I'd say it's in contention for the strongest. Is there anything that holds this album back from perfection? Yes. A couple of the beats on here aren't as engaging as they could be. Lyrically, it's of a simpler time, and Tip and Phife's writing is definitely not on the level of, say, Andre 3000 and Big Boi. But even that could be argued, as simplicity in writing could be considered a good thing - and let's not pretend that OutKast were so perfect. I bet Tip has never written a line as stupid as "they call it horny 'cause it's devilish", nor curated a monstrosity like "Pink & Blue" - and that's because he knows where he stands, and what that means is that he always sounds confident and cool on the mic, a presence that is only furthered when the more animated Phife enters the scene, which thankfully happens a lot more on this album than it does on their debut. Phife and Tip have some of the best chemistry ever seen on this album, and if songs like "Buggin' Out" and "Check the Rhime" aren't clear enough examples of that then I don't know what to say. And as for production, it's almost always pristine - the bass lines, the jazz instrumentation, the hard percussion, everything: it comes together to create one of the most mesmerising soundscapes in hip-hop, leading to an album that is so easy to get lost in. Sure, Midnight Marauders may have a higher abundance of hits than this album, but what it doesn't boast is as consistent of a soundscape, nor does it have such brilliant sequencing. I could go on about this album all day, but simply put it's one of the most well-crafted, well-produced and generally fun albums in existence. The Low End Theory is a masterclass. And goddamn is Scenario good as well - what a note to end on. 

Best Tracks: Most of them if we're being honest, but special shout-outs to "Buggin' Out" and "Scenario"

Worst Tracks: "Vibes and Stuff"

Read more of my write-ups on Tribe!

An Atmospheric Journey, pt. 2 - Headshots: Se7en

Even though I've been listening to an unhealthy amount of Aesop Rock and The Weeknd this week (a weird combo, I know), my intrigue in this Atmosphere discography has remained sky high, and thankfully I've managed to find a good time to sit down and review this next project in their discography. But wait! What's that? Headshots: Se7en isn't even an album! It's a compilation!

That's right, the second Atmosphere project I'll be reviewing was originally released back in 1999, two years after Overcast!, as a cassette only effort that most Atmosphere fans would consider a compilation, or even an official mixtape. From my understanding Headshots was a series of mixtapes that is absolutely impossible to find, consisting of rapping from the likes of Slug, Beyond, Spawn, Doseone, and other affiliates of early Rhymesayers music - maybe I'll check these out someday, although for now I'm not quite intrigued enough to track down random cassette only mixtapes when I haven't even listened to GodLovesUgly yet. 

For a while, Headshots: Se7en was a cassette only project that, like the other Headshots mixtapes, was about as easy to find as a person who actually enjoys Death In Paradise, but when they re-released it on CD in 2005 (with an extra bonus disc no less), it's notoriety in the Atmosphere fandom grew exponentially, as the first Atmosphere project to be hosted by just Slug and Ant, as (as the liner notes explain) Spawn had left earlier on due to creative differences. 

And it's therefore highly important that I listen to this project as part of my Atmospheric Journey (thanks, I came up with the name myself), so I picked one up, with the bonus disc in there as well. Since even the standard disc is a cool 21 tracks, with an additional 10 to check out on disc two, this one is going to be fucking long. Hopefully, the quality of the music will be worth it. So buckle up, ladies and gents, as this one might be a hell of a ride. 

All songs are produced by Ant. 

1. Sep Seven Game Show Theme

That was fuckin' great. On this track, Slug takes a slightly more fun and tongue in cheek approach to his rhyming than on most of Overcast!, rhyming around interludes depicting some type of game show - most rappers probably wouldn't bother to rhyme on a track like this and just leave it as an insufferable skit, but not Slug. He absolutely murks this aggressive beat with some fantastic and often hilarious rhymes, with some excellent rhyme schemes as well, especially in "pissed on the Asti Spumonte, sippin' Kamikaze, shoulda called mommy when you saw me pull up in an Omni". That part was so dope. But the rest of this is too. Sure it's not as deep and meaningful as some of Atmosphere's other work, but it sure as hell is fun, and sets a dope mood that excites me for what's to come. This one is sick. 

2. Round and Round

While Ant's instrumental on here started off sounding incredibly annoying, once the bass kicked in it turned into an absolute slapper - it's amazing what some deep underground bass sounds can do for an otherwise cheap and clunky sound (not sure what he thought he was doing with those synths). On this song Slug is talking about his position in the underground hip-hop scene, and how he's watching other artists sell out as they gain even a little bit of the fame and fortune. "I need to find a duty doing sales or some shit / 'cause I was always good at talking people into dumb shit" is a particular favourite line of mine on here, but there were lots of lyrical gems, and despite it being quite repetitive I also found the chorus to be a hit. This isn't going to be anyone's favourite Atmosphere song, but it sure is dope nonetheless. 

3. Tracksmart (feat. Mr. Gene Poole)

Mr. Gene Poole? What concoction of psychedelics were you on when you thought of that stage name?? Still, I found myself enjoying this track anyway - the instrumental from Ant on here is simply beautiful, with a really nice piano loop that almost reminds me of Gang Starr's Moment of Truth album, although I'm not exactly sure why. The rapping on here simply consists of bragging and more bragging, and they even throw in a round of applause sound effect at the end to further their own egos. But really confidence is what battle rap is all about, and since the bars on here were mostly good I think we'll give them the pass. Not sure why we had to spend so long on that whole catfish metaphor though. 

4. Choking On The Wishbone

  The title of this song was intriguing, but even though I still found some enjoyment in this track I would definitely say that it's my least favourite so far. That's not to say that it's bad at all, as the rhyming is still great and Ant does a fantastic job with the drums as usual - but the instrumental here is just too fast for Slug, who sounds jumbled and like he's rushing out his words, which is unusual since he usually sounds so cool and collected. The beat itself is okay, if a little repetitive, but really not one that Ant should have saved for Slug. Lyrically this one is interesting though - Slug takes time to lament on some of his darker, more depressed moments, and also compares touring as a rapper to being a circus clown, which is kind of apt if you think about it, if also very depressing once again. I do love how Atmosphere's music is so fun and sad at the same time. Yeah, there are some things holding this one back, but I certainly wouldn't qualify it as bad. It's solid. 

5. The Jackpot / Swept Away

A two part track, which is cool - I always love beat switches, as it gives albums more of a sense of diversity and surprise, even if the fact that the beat switch will happen is plainly advertised in the song title. "The Jackpot" takes up the majority of the runtime of this track, but that doesn't mean I'm entirely sure what it's even about. I think it's simply about a breakup, although the way Slug puts it makes it seem more like he's narrating some kind of cheesy detective story - although I guess it makes sense as his way of accepting that it's his fault the relationship ended. I never realised before starting this discography run that Slug would be so abstract with some of his verses - I was under the assumption he was more matter-of-fact with his writing, like Murs. Still, there's no denying the first part of this song sounded great, as that beat from Ant is really nice. The second half of this track features Slug rhyming over that "The New Style" sample that everyone knows, and he also does a good job. The way this song is structured is dope as fuck - it's definitely one of the better tracks yet. 

6. @ It Again

A fun instrumental interlude with some scratching, maintaining a nocturnal feel that I think was inevitable considering the darker colour schemes of this album art. I love these interludes on older hip-hop albums - they're always great at setting the mood. 

7. Lyle Lovette

While the back cover lists "The Stick Up" as track 7, it's wrong, as track 7 is actually this rather sexual cut - for some reason they got the two songs the wrong way around in the tracklist. This is easily the weakest track on the album so far - the instrumental sounds like something Puff Daddy would have rhymed over on a forgettable album cut in the late '90s, and Slug's bars are uninteresting, that is if they're not fucking weird (case in point: "the only ones I don't do is those under 18 / or at least I keep that shit a secret, if you know what I mean"). That's not funny dude - it's called paedophilia. Maybe not the best thing to brag about, eh? Yeah, this one is kind of weirdly underwhelming.

8. The Stick Up (feat. Eyedea)

I'm kind of excited for this one - I've never listened to anything from Eyedea before, but I hear he's a legend of the underground, so hopefully he'll bring something dope to the table here. 

And yeah I really liked this one, even if it's unusually short, at under 1 and a half minutes. The instrumental on here really reminded me of that on "Party Crasher" by Method Man, only without such a creepy and unsettling air to it, and the two verses, while very short, were entertaining and contained some dope bars. Eyedea's slightly nerdy delivery works, and Slug sounds as cool as ever, and it's a perfect match, to make for one of the dopest songs yet. Nice stuff. 

9. Higher Living

A pretty fun joint about Slug attempting to kill all the negativity within his life and just live as joyful and innocent as possible for a rapper on tour all the time, seeing all the ills of the world. The instrumental from Ant on this one is very simplistic and seems quite repetitive, with the instrumentation consisting of drums and a bass and that's about it, but I think Slug's performance on the track really elevates it to a new height, as the lyrics and vocal delivery on here is actually some of the best on this project yet in my opinion - the chorus is especially catchy for an early Atmosphere track. I actually found the verses to be mostly compelling too, and the short parts of instrumental break making you think the song is about to end, only for Slug to come back in with yet another verse, only serves to keep this track exciting and impressive. I dug the fuck out of this. 

10. To The Break Of Sean

This one didn't seem so much like an actual song as it did an interlude, which just so happens to have a short verse in the middle. The track does last well over 3 minutes, but only about 30 seconds or so seems to be dedicated to the verse, where Slug writes a letter to his mum about his new fame and fortune, sounding younger and more innocent than I've ever heard him on a record before. Most of the rest of this seems to be an Ant scratching affair, but for what it's worth it's pretty good in my opinion. This isn't anything to rave about, but I enjoyed it. 

11. Deer Wolf

Over probably the darkest instrumental on the album so far, carrying a legitimately haunting feel that's definitely been missing from most of this project up to this point, Slug spits some dope-as-shit verses that are unfortunately broken up by a repetitive and awful chorus with good lyrics, but terrible flow and rhythm - they didn't need to say that shit more than once. However, the rapping and production on this track serve to make this easily one of the strongest songs yet, with bars like "I write it for me, and if you like it that's love / and if you don't like it that's life, 'cause life don't like Slug" standing out as particularly excellent. And as I said Ant really outdid himself here - this is almost certainly the best beat on the album yet. I was a huge fan of this cut. 

12. Molly Cool

Despite this one having a similarly dark and creepy instrumental to the last track, lyrically this one more matches "Lyle Lovette" from earlier in the tracklist, as Slug drops one long ass verse detailing a date who wanted to get straight to fucking, rather than bothering with all that talking bullshit like most people. I mean, who the fuck wants to talk? Lyrically, this track is definitely kind of crude, but Slug's storytelling ability does shine through, and it's definitely a track that will have you at least a little bit hooked on the tale. And Ant's instrumental on here is fucking fantastic. I'm not really sure what the actual message of that opening voicemail was though - did anyone get what that meant?

13. Dungeons and Dragons (feat. Musab)

Slug recruits Musab from the previous album (then known as Beyond) for this joint as well, and it's a good thing, as his verse might actually be my favourite on this entire track. His flow and delivery is highly aggressive and stands out against all the Slug verses within this project, and I have to say I'm a huge fan of what he did here. It's one of the best verses on the album. Still, Slug's verses on this one were pretty fuckin' awesome too, with his disses towards other MCs having as much venom as any performance I've heard from him so far. The piano in Ant's instrumental here is a little too buried in the mix for my liking, but otherwise I messed with this one a lot. 

14. Anterlude

Not really as good as the previous interlude on here, but I guess it brings an important message. Moving along...

15. Advanced Communications

After a rather unorthodox build-up where Slug tries and very nearly succeeds to rhyme over these incredibly disjointed pianos and drums, the song proper starts up, and it's... decent. I feel like this isn't particularly a standout on the record, with a simplistic instrumental and a rather esoteric verse about Slug's purpose in life as a rapper - at least that's what I think it's about. I liked this one, but there's really nothing here to separate it from the other tracks. It's cool.

16. A Tall Seven and Seven

At this point in the tracklist, the songs seem to be getting shorter and shorter, which I guess is a good thing considering just how goddamn long this tape is. This track is one verse over an actually banging instrumental, where Slug tells off one of his old school friends for becoming an alcoholic - it's an interesting concept for a song, and one that works well, especially considering that Slug doesn't get all overdramatic on us, instead treating the situation with calmness and even a bit of humour. Yeah, I liked this one a lot. 

17. 3.2 Red Dog

Another short-n-sweet one, this one having a slightly different type of instrumental, having more instrumentation, which is a good thing, helping the song to stand out a ton on here. The track in general feels a bit more positive too, even though it's mainly about Slug entering a house party he has no real interest in just so he can see this one girl who he fancies. I do like this one, although like quite a few of the tracks towards the back end of this project it feels like it could have used more fleshing out to become an actual song, rather than a one verse cut that feels more like an interlude than anything else. Still, I like it.

18. The Abusing Of The Rib

Really fucking good. I feel like it's always these darker instrumentals that Ant really excels at, and here it couldn't be more obvious, as the piano and drums on this track are absolutely pristine. This has to be the best instrumental on the entire album, and one of the best I've heard from Atmosphere period. As for the rapping, it's also pretty excellent, as Slug seems to pity Mother Nature, and is trying to find ways to make things better for her - of course some interpret the whole "Mother Nature" schtick to be just a metaphor for a woman he wants to be with, which if we're being honest is far more likely. Not that that would be a bad thing, as the lyricism on here is still compelling either way. And despite me not really enjoying a lot of the more repetitive hooks on this project, I thought this one was particularly great, and the slow delivery helps it hit home even more. This is definitely a standout in the tracklist, a fantastic song overall. 

19. Write Now (Multiples No. 4)

"Multiples" and "Multiples (Reprise)" appeared on Overcast!, and there's actually a "Multiples Reprise Remix" on the bonus disc of this project, so I guess it does make sense that this is the fourth in the series. This is yet another very short one that is an ode to what Slug uses to write his rhymes - his pen, and it's pretty heartfelt considering the subject is an inanimate object. Also, that instrumental is absolutely brilliant, painting a haunting yet poignant atmosphere that is quite different from everything else here. This joint is really good. 

20. I Wish Those Cats @ Fobia Would Give Me Some Free Shoes

That title is so completely ridiculous that I can't help but love it. And that's kind of how I feel about the song. The stabby piano chords here kind of paint the atmosphere of a comedy horror film, and yet Slug's lyrics mostly seem to surround his frustration with being a reasonably popular musician, and yet still having to shop at Goodwill and, that's right ladies and gentlemen, having to actually buy shoes, rather than getting them for free for celebrity endorsement. I wonder if the cats at Fobia did give him some free shoes after he released this song. Anyway, I was a huge fan of the storytelling here, and while on the surface the song seems a bit "first world problems", I think it's mostly tongue in cheek. This is fuckin' dope. 

21. Heart

A fun closing track that details Slug's rise to the top as a rapper, and how he doesn't respect a lot of rappers these days, no matter how much heart & soul they put into their music. The instrumental on this track isn't exactly the greatest thing of all time, but Slug's lyrics here are certainly potent, and I think it ends the project well. It's a cool song. 

And what a project it has been! So far, despite it's imperfections, I've really enjoyed listening to Headshots: Se7en. However, despite that being the end of the actual project, it's not the end of the listen as a whole. No, we still have a 10 track bonus disc of underground Atmosphere and Headshots material to wade through. I told y'all this was going to be a long one!

The Bonus Disc:

1. Industrial Warfare (performed by The Dynospectrum)

The opening track of this disc is by the group The Dynospectrum, who actually did have an album in 1998, one I've chosen not to cover during this discography run through (although I'll probably be compelled to check it out eventually). The group included Slug, Musab, Mr. Gene Poole and I Self Divine, all of whom bar the latter appear on this track right here, and it's definitely a fun experience, if there are problems I have. The synth line in this track, which they probably thought sounded "futuristic" in the late '90s, has actually aged rather poorly, and also contrasts weirdly with the dusty drums straight out of that '90s hip-hop sound. Still, the beat's flaws don't ruin the track, as it features some aggressive and potent verses from the three MCs, who's aims to rip apart the competition seem to be met on this track. God, I love some of this early Rhymesayers music. 

2. Travel (remix)

Surprisingly I enjoyed this track even more than the previous one, which does make sense since this one has the better instrumental of the two tracks by quite some margin. This Ant instrumental is far more thought provoking and far richer than what we heard on the previous song, and that makes sense as Slug's lyrics on this cut (one of only a couple to be labelled as by Atmosphere themselves on this CD) are more serious too. Well, that is outside of some of the more braggadocios lines on here, including "until then, I'ma stay on top of heads like a bald spot", which is just a little bit stupid if you ask me. Slug is effectively introducing Atmosphere as the newest and greatest hip-hop act on this track, and it is effective as hell for the most part - his verses are dope, and the beat is one of my favourites across both discs. This is nice as hell.

3. 7th St. Entry

This is the most viewed song on Genius from this bonus disc, which makes sense, as it's a rather specifically themed track, directed at some fuckhead who decided to write Slug's name in the bathroom at 7th Street. Can you believe the bastard? I'm not sure what exactly about that fired Slug up so much he had to write a full diss track, but hey, at least we got some good music out of it. Because alongside a dope Ant instrumental, the verse on here is well written and kind of hilarious given the context, and Slug's aggression really shines through. This is a dope cut. 

4. Sent (performed by Beyond (Musab) & Slug)

Despite this one having a very generic song structure, and one of those annoyingly repetitive hooks that tends to lessen the quality of a lot of underground hip-hop songs, I still enjoyed it a lot. This is partly thanks to Ant's legitimately great instrumental, with a funky and upbeat tempo along with a goofy synth playing in the background that really works well to create a generally fun and groovy mood for the track. And of course the rapping is great too. I especially loved the lines on Slug's opening verse, where he admits that before he has sex with this woman, she needs to focus on forming a proper bond with her children, as that's far more important. That's honestly quite mature and selfless, even if we'd like to think anyone would think like that. Musab also does a fantastic job with his verses, showcasing once again that aggressive style that has actually got me kind of interested in his music. This was a dope joint. 

5. Multiples Reprise (remix)

While the original "Multiples (Reprise)" was a short-n-sweet experimental verse working with the alphabet, this is an incredibly long affair, where Slug describes many of the fucked up things that have happened or are happening to the people around him. I'll be honest, I'm not entirely sure what the chorus on here has to do with the rest of the song, but outside of that this is one of the most emotional and harrowing cuts on the entire record, and if I didn't know the context behind the release I would question why the hell this was only on the bonus disc when it's so powerful. A lot of these tales will really have you thinking, and it's helped by a dark and eerie instrumental from Ant that plays into the dark tragedies surrounding the tales that Slug is narrating here. This is yet another showcase of how great Atmosphere are at creating these dark songs, and I have to say it's one of my favourite songs I've heard from them yet. It's fantastic. 

6. Funny Colors In My Mushroom Trails (performed by Sess & Slug)

I have to confess that I wasn't entirely paying full attention to this track as I listened, but I have an excuse - as soon as that instrumental started up I knew I recognised it from somewhere, but for some reason I couldn't quite place it. Give me a break, I have a hell of a lot of albums in the collection. And eventually I found it - it's a slightly slowed down version of the instrumental from the Xzibit song "Enemies & Friends", from his classic album At the Speed of Life (yes that's a fucking classic and I won't dispute it). Jeez, I forgot how great that song was - there are too many highlights on that album and they can end up overshadowing some of the other great deeper cuts. Anyway, obviously it's difficult for me to listen to this track now without thinking of that one, but I have to say that this is the perfect instrumental for the subject matter about a bad shrooms trip. Also, it's great to hear Slug rhyming over this beat, and Sess had an interesting performance on here too. I wonder if X sampled something for "Enemies & Friends" too, or if they took this directly from that track. Man, I live for finding samples like this. So cool. 

7. Fuck the Bullshit (performed by The Dynospectrum)

Jeez. That's not a very nice title for a song. Still, I did enjoy the track itself, even if it doesn't particularly stand out amongst all the other angry "fuck you" type of tracks that appear all across both discs here. I did note the rather hilarious line "life is like a dance, and I got two left hands" though, which stands out for Slug getting the idiom completely wrong, perhaps by accident, perhaps because he knew "feet" didn't rhyme with "dance". Otherwise on here you have a nice, upbeat Ant instrumental, and some dope verses from the guys in The Dynospectrum. I'm definitely gonna have to track down their group album soon. 

8. Struggle Song (performed by The Dynospectrum)

I find it strange how production-wise this bonus disc has been far more consistently great than the main disc. Aside from the first beat on here everything has been great to an extent, whereas there were far more simplistic and frankly uninteresting instrumentals on the main album here. Then again, these are the "best of" the Headshots tapes so that does kind of make sense. This instrumental here really feels like something from Murs' debut album F'Real, which is a good thing as I love that project - it's got these subtle bells that should be innocent but sound kind of eerie, teamed with dusty and rich percussion that is undoubtedly energetic, guaranteed to get your head noddin'. The track overall is decent, but I really want to highlight how dope Ant's production is. Lyrically, it's pretty cool too, even if it's not quite as depressing as the song title might make out. Overall, it's dope. 

9. Dubs (performed by Beyond (Musab) & Slug)

Ugh, I should have known we were going to have to listen to sex noises at some point. 31 tracks without them and it wouldn't really be a rap album, would it? Still, at least they aren't too interfering with the song, which is good because the song as a whole here is pretty great, even if it's one of the weaker instrumentals on the disc as a whole in my opinion. It's not even bad, it's just a little too overly repetitive. The rapping on here is cool though - it's pretty much just more rhymes about how they're the best, and also how they don't want to let the bitches distract them from what's truly important, the rapping. Misogyny in this track aside, it's pretty good, if not anything I'd get overly excited about. 

10. Substance Abuse (feat. Extreme)

This one feels like the most old-school track on this entire bonus disc, with Atmosphere seeming to go for an almost late '80s type of feel here, with the chanting in the hook and during Slug's verse being reminiscent of Leaders of the New School, and "Scenario". If you listen to this track you'll probably get that vibe too. The instrumental on here is dope as fuck, being intense and unashamedly underground, and the MCing on here is just as good, as the rappers (including Spawn once again!) deliver some great verses over a fantastic instrumental. What a way to end a bonus disc that I'm very glad to have made sure I got. This shit was so good!

Jeez, this thing was long, and somehow entertaining as fuck too. I've just noticed that on average I seem to have written more about the tracks on the bonus disc than the main disc, and that certainly wasn't my intention, but I think it does show that I potentially didn't place as much faith in this project as I should have. Initially, I was kind of worried that, since this is an underground mixtape with little features (on the main album at least) and only one producer, it was going to be samey, and even if there were some songs I liked it would overall be a fairly dull listen. And I was so wrong. This tape is absolutely great, and while I'd probably say that Overcast! is better sequenced and has higher highs, this one actually comes close, and Slug's rapping and subject matter is arguably improved on here - I also much prefer the album art and design on this one, especially that little sketch at the bottom of the back cover. I don't know why but that really contributed to the mood for me. This album (I'm just talking about the first disc now) is really great - sure, some of the production can occasionally be a little simple and repetitive, and sometimes I found Slug to be a little corny or unpleasant (especially with whatever the fuck he was doing on that underage bar), and frankly "Lyle Lovette" was an actually bad song, the worst I've listened to from Atmosphere so far. But looking at the positives, the lyrical content was incredibly varied for an underground, battle-rap type of album, and I never found myself wishing the subject matter would switch up, which I definitely did when going through some of the Murs albums released in this era. And furthermore, when Ant's production was on, it was fucking on, with some sick dark production throughout this thing, on excellent cuts such as "Deer Wolf" and "The Abusing of the Rib". While this wasn't perfect, and was certainly long, I still found it to be very enjoyable, and it really makes me excited to continue on with this Atmosphere discography. For the less acquainted with Atmosphere, who are maybe considering skipping this since it's not a studio album - please don't, as there's plenty worth hearing on here. And hey, you can track down the bonus disc on YouTube or whatever when you're done (or buy the CD like I did), as that's just as potent as the main disc, if not more. This Atmospheric Journey is certainly going well so far. Thanks for reading!

BEST: "Multiples Reprise (Remix)"

WORST: "Lyle Lovette"

Read some of my other Atmosphere reviews.